Glengarry Glen Ross

Playhouse Theatre
Northumberland Avenue, London

Public Previews: 26 October 2017
Opens: 9 November 2017
Closes: 3 February 2018

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Nearest Tube: Embankment or Charing Cross

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Theatre seating plan

Show times
Monday at 7.45pm
Tuesday at 7.45pm
Wednesday at 7.45m
Thursday at 2.30pm and 7.45pm
Friday at 7.45pm
Saturday at 2.30pm and 7.45pm
Sunday no shows
Thu 26 Oct at 7.45pm only
Wed 8 Nov at 2.30pm and 7.45pm
Thu 9 Nov at 7.45pm only

Runs ? hours and ? minutes

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Premium Seats Also Available
(plus booking fees if applicable)

Glengarry Glen Ross

A major revival of David Mamet's play Glengarry Glen Ross in London starring Christian Slater

Lie, Cheat, Steal... All in a day's work. David Mamet's modern classic is set in an office of cut-throat Chicago salesmen. Pitched in competition against each other, they will do anything, legal or otherwise, to sell the most real estate. In this world of high stakes and hard sell, the mantra is simple: close the deal and you've won a Cadillac; blow the lead and you're f***d.

The cast features Christian Slater as 'Ricky Roma' with Robert Glenister as 'Dave Moss', Kris Marshall as 'John Williamson', Stanley Townsend as 'Shelley Levene', Don Warrington as 'George Aaronow' and Daniel Ryan as 'James Lingk'. Directed by Sam Yates.

Christian Slater's West End credits include Wilson Milam's stage production of George Huang's Swimming with Sharks at the Vaudeville Theatre in 2007; and Terry Johnson and Tamara Harvey's production of Dale Wasserman's One Flew Over The Cuckoo's Nest at the Gieldgud Theatre in 2004 and a return season at the Garrick Theatre in 2006.

Robert Glenister's London theatre credits include Nicholas Hytner's production of Richard Bean's Great Britain at the National Theatre's Olivier Theatre in 2014 and transfer to the Haymarket Theatre in 2014; Lindsay Posner's revival of Michael Frayn's Noises Off at the Old Vic Theatre in 2011 and transfer to the Novello Theatre in 2012; and Patrick Marber's stage production of Dennis Potter's Blue Remembered Hills at the National Theatre's Lyttelton Theatre in 1996. Kris Marshall's London stage credits include Neil LaBute's Fat Pig at the Trafalgar Studios in 2008; and Christopher Hampton's Treats at the Garrick Theatre in 2007. Stanley Townsend's London theatre credits include Jeremy Herrin's production of Jennifer Haley's The Nether at the Royal Court Theatre in 2014 and transfer to the Duke of York's Theatre in 2015; Iqbal Khan's revival of Arthur Miller's Broken Glass at the Vaudeville Theatre in 2011; Richard Eyre's revival of the musical Guys and Dolls at the National Theatre's Olivier Theatre in 1996; and Sam Mendes' revival of Sean O'Casey's Plough and the Stars at the Young Vic Theatre in 1991. Don Warrington's West End stage credits include Angus Jackson's production of Kwame Kwei-Armah's Elmina's Kitchen at the Garrick Theatre in 2005. Sam Yates' London directing credits in a revival of Ayub Khan Din's East is East starring the playwright and Jane Horrocks at the Trafalgar Studio in 2015.

David Mamet's other West End plays include The Cryptogram, American Buffalo, Speed-the-Plow, Sexual Perversity In Chicago, A Life in The Theatre, Boston Marriage and Oleanna.

Glengarry Glen Ross in London at the Playhouse Theatre public previews from 26 October 2017, opens on 9 November 2017 and closes on 3 February 2018


London West End Revival 2007

Previewed 27 September 2007, Opened 10 October 2007, Closed 12 January 2008 at the Apollo Theatre

This revival of Glengarry Glen Ross in London starring Jonathan Pryce and Aidan Gillen marks, in 2008, the 25th anniversary of the original London premiere

The cast featured Jonathan Pryce as 'Shelly Levene', Anthony Flanagan as 'John Williamson', Matthew Marsh as 'George Aaronow', Aidan Gillen as 'Richard Roma', Tom Smith as 'James Lingk', Shane Attwool as 'Baylen' and Matthew Marsh as 'Dave Moss'. Directed by James Macdonald with designs by Anthony Ward and lighting by Howard Harrison.

"His terrific play Glengarry Glen Ross pretends to be naturalistic, but the way David Mamet's real-estate salesmen speak, their pumped-up patter littered with four-letter words and repetition, is actually poetry in motion, a heightened theatrical language with the subtext of fear and despair boldly spelt out. And the texture of each character's speech is subtly, revealingly different... The pace of James Macdonald's production is a bit too slack to begin with and he makes a big mistake in introducing a prolonged interval when the action shifts from the restaurant to the paper strewn office the morning after the night before. It ruins the shape of a play which, second only to Arthur Miller's Death Of A Salesman, so eloquently reveals how a salesman actually sells himself untilhe's sold out. The performances, nevertheless, do Mamet's writing proud." The Mail on Sunday

"Finely-tuned vituperation sits at the heart of this jittery play with its trailing sentences, hard interruptions and frequent overlapping. It is the work of a writer with the finest of finely-tuned ears who has caught the nuances of cut-throat competition in the shady world of American real estate salesmen... Director James MacDonald makes this production zip along with profane energy, exposing the vile underbelly of consumer politics with all its slick sales-speak, emptiness and soul-for-rent philosophy. Jonathan Pryce, always a joy, is brilliant as the burnt-out Shelley Levene - fast-talking, desperate and sure that he will once again pull off the big sale. And when a sudden success turns out to be a dud, Pryce just crumbles like a broken biscuit. It is a deeply moving moment. But it is Aidan Gillen's shrieking performance, who appears alongside Matthew Marsh playing Dave Moss, as the deceitful little creep Richard Roma - a man who would not only sell his grandmother down the river, but would also toss in her saggy stockings for good measure - which dominates the stage. His machine-gun duplicity, the pulverising lies, and a salesman's glib hysteria all tumble out in a memorable performance. Gillen turns the character into a hateful monster - so much that you are tempted to leap on to the stage and drag him off by his horrid, spiky hair. He was that good." The Daily Express

"Like Patrick Marber's play Dealer's Choice, David Mamet's is unapologetically about men, their games of one-upmanship and the unevolved playground sensibility within which they are fated to remain trapped even as their hair turns grey. In director James Macdonald's hands it's an adrenaline-overdose, on-the-ropes knock-out of a production, which, running at just under an hour and a half, leaves you punch-drunk but masochistically, or, indeed, sadistically, wishing for more. It's also an expletive fest, which, far from being gratuitous, is a masterclass in using 'profanities' to outline character and psychology and win a laugh when you least expect one. Set in Chicago in 1983 and revolving around the scams and counter-scams of a group of seedy, racist real-estate salesmen, Mamet's play is as damning an indictment of capitalism as you'll find this side of Death of a Salesman... Mamet's play is, in some ways, a star-vehicle, demanding charismatic performances; but the equal weight he places on the shoulders of each character also means it is, at the same time, the ultimate ensemble piece. James Macdonald has a strong cast at his fingertips, but in this production some animals turn out to be more equal than others. Standing head and shoulders above the rest are Jonathan Pryce (above), who brings an old-timer's cunning and withered pathos to Shelley 'The Machine' Levene, the office star fallen unto the sear, who believes his comeback is just one deal away; and Aidan Gillen, as Roma, a moustachioed, preening, natural-born grifter - armed, as is Gillen's calling card, with a dangerously ambiguous sexuality that can only serve him well in his life on the road." The Sunday Telegraph

Glengarry Glen Ross in London at the Apollo Theatre previewed from 27 September 2007, opened on 10 October 2007 and closed on 12 January 2008


London Revival (Donmar Warehouse) 1994

Previewed 16 June 1994, Opened 22 June 1994, Closed 27 August 1994 at the Donmar Warehouse

The cast featured James Bolam as 'Shelly Levene', William Armstrong as 'John Williamson', John Benfield as 'George Aaronow', Ron Cook as 'Richard Roma', Keith Bartlett as 'James Lingk', Carl Proctor as 'Baylen' and Anthony O'Donnell as 'Dave Moss'. Directed by Sam Mendes with designs by Johan Engels, lighting by David Hersey and sound by Fergus O'Hare.


Original London Production (National Theatre) 1983 / 1986

Previewed 15 September 1983, Opened 21 September 1983, Closed 20 March 1985 (in repertory) at the National Theatre's Cottesloe Theatre (now Dorfman Theatre)
Previewed 13 February 1986, Opened 24 February 1986, Closed 17 May 1986 at the Mermaid Theatre

The original NT Cottesloe Theatre cast featured Derek Newark as 'Shelly Levene', Karl Johnson as 'John Williamson', James Grant as 'George Aaronow', Jack Shepherd as 'Richard Roma', Tony Haygarth as 'James Lingk', John Tams as 'Baylen' and Trevor Ray as 'Dave Moss'.

Following a regional tour this National Theatre production returned to London for a three-month straight-run at the Marmaid Theatre when Kevin McNally took over the role of 'Richard Roma'.

Directed by Bill Bryden with designs by Hayden Griffin, lighting by Andy Philips and sound by Caz Appleton (sound at Mermaid Theatre by Anthony Waldron).